Lighting the Dark | DanceNorth

All images: David Kelly

DanceNorth this month celebrated the world premiere of the company’s latest work, Lighting the Dark, which opened at Brisbane’s Thomas Dixon Centre as part of the 2024 Brisbane Festival. Lighting the Dark is a one-hour fourth wall breaking theatrical event that blends contemporary dance with beatboxing, a capella singing, milk crate Jenga, superheroes, and street art references.

Chris Dyke describes Lighting the Dark as including an introduction, an ‘epic battle,’ a ‘crazy scene,’ and a final section that is ‘a little more tender as we think about disconnection, connection and the power of love.’ The concept and choreography result from a close collaboration between Chris Dyke and Dancenorth’s Kyle Page and Amber Haines—and the work is directed by Chris Dyke, who performs alongside Dancenorth’s Sabine-Crompton Ward, Darci O’Rourke, Tiana Lung, Damian Meredith, Felix Sampson and Michael Smith.

DanceNorth is well known for ‘creating compelling contemporary dance.’ In this latest piece, the co-creators draw the audience into the process of developing a new work—beginning with a fourth wall breaking introduction, where Felix Sampson runs through some of the content warnings (which include occasional smoke haze, loud sounds and superpowers) and then introduces each of the artists. As the performers are presented, they are each warmly hugged and welcomed by Chris Dyke—communicating a sense of the artists as people who need to work closely with and trust their fellow dancers.

It’s wonderful to then watch those individuals transform from initial ‘chatter,’ and playfulness, to performing impressive dance—here a literal lighting of the dark stage, when the artists ‘switch on’ their performance skills. I loved the abrupt change where the artists transformed into ‘superheroes’ in what was an exhilarating first ‘movement’—a cartoonish battle, entertainingly orchestrated by some excellent beatboxing and with some incredible dance moves. The early superheroes piece, complete with Tiana Lang’s amazing ‘Flash screech,’ includes impressive choreography, fabulous and controlled dancing by each of the performers, and amusing moments of blow-up banana whimsey.

All images: David Kelly

What I have interpreted as the behind-the-scenes moments included Felix Sampson’s ongoing role as ‘host’—often talking directly to the audience, checking in with Chris Dyke, and encouraging a playfulness that included those milk crate pyramid Jenga moments. This breaking the fourth wall worked well in moving between the different sections or chapters—where a particular highlight was the interplay with the talented Tiana Lung, who skilfully responded to Dyke and Sampson’s entertaining dance challenges. I loved Lung’s dancing throughout the piece—and really enjoyed this funny and clever combining of different dance styles and characters. But each of the dancers had moments to shine during Lighting the Dark, including the romantic duets that led into Dyke’s moving concluding solo.

Hats off also to the design, lighting, and sound creatives. I loved the musical choices, from the early ‘beat boxing’ interactions in the superpower sequence, through to the use of David Bowie’s Heroes (Composition and Sound Design by Anna Whitaker, with additional lyrics composition and unaccompanied singing by Felix Sampson). Lighting the Dark also has excellent visual appeal, with great set and costume choices, thanks to the skills of Chloe Ogilvie (lighting) and Andrew Treloar (Design). And the use of large quantities of milk crates, to build a deceptively minimalist staging, makes for a cost-effective way in which to tour the production. The crates provide a striking backdrop for the early superpower ‘skyline,’ are used to great effect in the ‘Banksy’ movement, act as a somewhat precarious mountain for the performers to climb and offer a great platform for Dyke’s Freddie Mercury-style poses. And, of course, the crates are used to build a stunning Jenga pyramid through which Dyke later bursts back onto the stage.

All of which means that there is much to enjoy in this new work, which Dancenorth describes as shining the light on ‘Chris’ profoundly moving and life-affirming adventure through the world.’ Not every moment worked for me; for example, although I enjoyed the Banksy elements of the piece, I felt that they might have benefited from being slightly shorter. It would be fascinating to see how Lighting the Dark is further developed—perhaps with dramaturgical support to create more a sense of the on-stage/off-stage stories. I would also be interested to see the piece staged in smaller venues as, on the closing night of the Brisbane Festival run, it was interesting to watch the different ways in which audience members responded to the work, based on where they sat. I had the impression that those seated most closely to the stage had a real sense of being brought into the rehearsal room and creative process, which might suggest that the work would do particularly well if staged in the round or in smaller venues.

The short Brisbane Festival run of Lighting the Dark has now finished. However, I can still recommend a visit to the Thomas Dixon Centre, whether for future performances or even just a building tour, as Lighting the Dark was a great demonstration of how the space is being used to attract and develop new works and ideas.

‘Lighting the Dark’ played 12-14 September at the Thomas Dixon Centre, West End as part of the 2024 Brisbane Festival.

All images: David Kelly